PipeChat Digest #3039 - Monday, August 12, 2002
 
Re: Handel's Messiah
  by "Carol Scott" <dclscott@skyenet.net>
RE: scaling
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Re: scaling
  by <RonSeverin@aol.com>
Re: what we maybe SHOULD be talking about
  by "Ross & Lynda Wards" <TheShieling@xtra.co.nz>
Re: music search
  by "Bruce  Miles" <bruce@gbmuk.fsnet.co.uk>
Re: music search
  by <quilisma@socal.rr.com>
Re: music search
  by "Noel Stoutenburg" <mjolnir@ticnet.com>
Re: Worshipful Atmosphere/Clapping--off topic
  by <Cremona502@cs.com>
Re: Last Sunday
  by <Cremona502@cs.com>
Re: Worshipful atmosphere
  by "Jim Hailey" <jhaileya10@charter.net>
Re: Last Sunday
  by "Paul Valtos" <chercapa@enter.net>
 

(back) Subject: Re: Handel's Messiah From: "Carol Scott" <dclscott@skyenet.net> Date: Mon, 12 Aug 2002 15:27:50 -0400   I'm a big fan of the relatively new Leonard Van Camp edition of the = Messiah. The layout and rehearsal numbers are identical to the Schirmer = edition, which is handy for rehearsals, but the accompaniment is much more = suitably arranged for organ (or even for a less than brilliant pianist, = which would be me). I use the choral edition, but there is a separate = "Continuo" edition that would probably cut down on turning pages.   Carol Scott   > From: "Alex Oldroyd" <droydmaester@fastmail.fm> > > > I have been asked to accompany a 60 person choir which will perform = some > > selections (Hallelujah Chorus, For Unto Us a Child is Given, Glory to = God > in > > the Highest) from Handel's Messiah. Does anyone know where to find = the > > ORGAN score for these? > > > > Thanks! > > -Alex > >    
(back) Subject: RE: scaling From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 15:28:30 -0400   Okay, gotcha, thanks. I am and was aware of scaling with regard to flutiness as opposed to stringiness but not softer vs. louder or rather stronger vs. weaker. The problem's not yours, it's my lack of experience. But now I understand that scaling in combination with voicing can = contribute to strength. I always thought ONLY wind pressure contributed to that attribute. Thanks again and for your patience, RBC   -----Original Message----- From: quilisma@socal.rr.com [mailto:quilisma@socal.rr.com] Sent: Monday, August 12, 2002 3:27 PM To: pipechat Subject: scaling     I really wish some of the builders would chime in here ... I'm ABOUT to get WAY out of my depth (grin), but here goes:   SCALE refers to the ratio of the LENGTH of the pipe to its CIRCUMFERENCE.   Grossly simplified, the WIDER the scale, the FLUTIER the tone; the NARROWER the scale, the STRINGIER the tone.   FLUTES are generally made FAT(ter); Principals are made MEDIUM to MEDIUM-NARROW; strings are made NARROW(er).   In the case of the bottom octave of a manual 16', you MIGHT be referring to a COMBINATION of scale AND voicing. The scale MIGHT be made SLIGHTLY narrower, but the pipes would ALSO be VOICED slightly softer. THAT would be done at the mouth, and/or (less desirably) at the toe (at least by some builders).   Now ... if somebody would explain to ME what happens to scales as you go UP, I'd be MOST grateful (grin).   Cheers,   Bud     "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:pipechat@pipechat.org Administration: mailto:admin@pipechat.org Subscribe/Unsubscribe: mailto:requests@pipechat.org  
(back) Subject: Re: scaling From: <RonSeverin@aol.com> Date: Mon, 12 Aug 2002 15:53:25 EDT   Dear Bud:   Scales going up is a variable related to the room also to finished voicing style. Baroque Principal basses were scaled smaller for live rooms and the halving ratios were about every octave. A Romantic Diapason had to be big in the bass for most dead rooms say 40 scale for open #1 42scale for open #2 and 44 scale for open #3. halving on the 14th or 15th pipe. The Baroque models were probably 45 or 46 scale. Mixtures were needed to fill out these stringy trebles The Romantic models were more fluty in the treble and more powerful. The Baroque models fell out of power in the trebles, and needed = assistance. I exaggerated somewhat but they are totally different approaches for completely different reasons. G. Donald Harrison did some really strange experiments with small 8' principals and slightly larger 4' and 2' = principal stops. It became readily apparent that dead rooms did not look too favorably on the true Baroque approach to scaling. This along with a slightly higher pressure created these ear bleeding monsters after his death in the 60's 70's and 80's. We knew something was terribly wrong, but everyone opined that it hadn't been tried yet by the right person. Thank God that's behind us now. :)   Ron Severin  
(back) Subject: Re: what we maybe SHOULD be talking about From: "Ross & Lynda Wards" <TheShieling@xtra.co.nz> Date: Tue, 13 Aug 2002 08:23:03 +1200   >Bud suggests discussing: > >>WHY unification is generally bad, > >I once read here or on PIPORG-L of the possibility of designing and = tuning a >rank, perhaps a spitzflote, primarily for 2 2/3', and secondarily as a >celeste. Does anyone know of an actual example? It sounds like a rather >ingenious idea, although presumably the celeste is either at 4' or at 8' >just to tenor C.   Paul, no problems with your posting - very sensible.   But about the Celeste thing. Yes, I've seen that. And would go further. Here, one very prominent organist, Maxwell Fernie (a NZer who was organist at Westminster Cathedral when George Malcolm was Choirmaster) had a perfectly-tuned 6 2/5 SubTierce on the Great that also was used as a = Celeste 8ft.   Apart from saying this should have been labelled "Contra Sub Tierce" as coming from the 32ft series, it is an occasionally-useful stop, adding an interesting frisson (to use a clever word) to the Great Principal chorus. = I doubt if it was worth the extra stopkey, though. It was just a quirk of Max's, no more. Ross    
(back) Subject: Re: music search From: "Bruce Miles" <bruce@gbmuk.fsnet.co.uk> Date: Mon, 12 Aug 2002 21:53:12 +0100   Bud,   La Mer (AKA 'The Sea) is in '70 Years of Popular Music - The Forties - = Book 2' (Published by Warner Bros/IMP). I think it's still in print so you = could try your local music store.   There are different versions of the words (translations), but the music's the same.   HTH   Bruce Miles     mail to:- bruce@gbmuk.fsnet.co.uk website:- http://www.gbmuk.fsnet.co.uk   ----- Original Message ----- From: <quilisma@socal.rr.com> To: "organchat" <organchat@egroups.com>; "pipechat" = <pipechat@pipechat.org> Sent: Monday, August 12, 2002 5:57 PM Subject: music search     > Don't laugh ... I need a copy of "La Mer" (?) ... "Beyond the sea ... > waiting for me" for a golden wedding anniversary. It was sung/played at > their last dance before he went off to the Korean War, and they want it > played at the renewal of their vows. That'll be AFTER Mass (grin) ... > DURING Mass they're having "Entreat Me Not To Leave Thee". > > Cheers, > > Bud > > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org > >    
(back) Subject: Re: music search From: <quilisma@socal.rr.com> Date: Mon, 12 Aug 2002 14:06:16 -0700   Thanks! I found a copy ...   Cheers,   Bud   Bruce Miles wrote: > > Bud, > > La Mer (AKA 'The Sea) is in '70 Years of Popular Music - The Forties - = Book > 2' (Published by Warner Bros/IMP). I think it's still in print so you = could > try your local music store. > > There are different versions of the words (translations), but the = music's > the same. > > HTH > > Bruce Miles > > mail to:- bruce@gbmuk.fsnet.co.uk > website:- http://www.gbmuk.fsnet.co.uk > > ----- Original Message ----- > From: <quilisma@socal.rr.com> > To: "organchat" <organchat@egroups.com>; "pipechat" = <pipechat@pipechat.org> > Sent: Monday, August 12, 2002 5:57 PM > Subject: music search > > > Don't laugh ... I need a copy of "La Mer" (?) ... "Beyond the sea ... > > waiting for me" for a golden wedding anniversary. It was sung/played = at > > their last dance before he went off to the Korean War, and they want = it > > played at the renewal of their vows. That'll be AFTER Mass (grin) ... > > DURING Mass they're having "Entreat Me Not To Leave Thee". > > > > Cheers, > > > > Bud > > > > > > "Pipe Up and Be Heard!" > > PipeChat: A discussion List for pipe/digital organs & related topics > > HOMEPAGE : http://www.pipechat.org > > List: mailto:pipechat@pipechat.org > > Administration: mailto:admin@pipechat.org > > Subscribe/Unsubscribe: mailto:requests@pipechat.org > > > > > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org    
(back) Subject: Re: music search From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Mon, 12 Aug 2002 15:39:39 -0700       quilisma@socal.rr.com wrote:   > I imagine it was French originally ... it's Gounod, aka "Song of Ruth."   It may be by Gounod, but it may well have originally been in English: in the past few months, I have found several items written by Gounod in the 1870's, in conjunction with, or as a result of, his trip to London in = about 1870: an Evening service (Mag & Nunc in English), a setting of "There is = a Green Hill Far Away", and a hymn tune, Lux Prima dating to 1872, used in Gray's edition of the The New Hymnal (1916), for Folliott S. Pierpont's text "For the Beauty of the Earth".   ns    
(back) Subject: Re: Worshipful Atmosphere/Clapping--off topic From: <Cremona502@cs.com> Date: Mon, 12 Aug 2002 19:57:28 EDT     --part1_1b8.4b37a1a.2a89a568_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <It's quite clear from scripture that clapping was a part of Jewish = worship tradition. >   Would someone please enlighten us as to "how" clapping was a part of = Jewish worship.   Thankyou.     (clap clap clap)     Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 ....an opportunity for health & wealth http://visionsuccess.com/BC2053   --part1_1b8.4b37a1a.2a89a568_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>&lt;It's quite clear = from scripture that clapping was a part of Jewish worship <BR>tradition. &nbsp;&gt; <BR> <BR>Would someone please enlighten us as to "how" clapping was a part of = Jewish worship. <BR> <BR>Thankyou. <BR> <BR> <BR>(clap clap clap) <BR> <BR> <BR>Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 <BR>...an opportunity for health &amp; wealth = &nbsp;http://visionsuccess.com/BC2053</FONT></HTML>   --part1_1b8.4b37a1a.2a89a568_boundary--  
(back) Subject: Re: Last Sunday From: <Cremona502@cs.com> Date: Mon, 12 Aug 2002 20:11:57 EDT     --part1_59.1fc32baf.2a89a8cd_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   >How was the music at everyone's church this morning? >How did you play?   I guess it's confession time.... I'm back on the bench, playing in a Disciples of Christ church on a (gasp) 2m Allen.   The service is informal, yet done with dignity and the hymns are good, and =   the congregation generally on the west side of 50!   I've had to turn the volume up on the amps so that Principals 8 and 4 sufficiently fill the room for congregational singing, since the room is = dead and the mixture does not fill the room but causing various noises from hearing aids! Increasing the gain on the amps (2 channels) gives = sufficient volume to the 8 and 4 flues, but makes the mixture and Trompete unusable = (no surprise). We're looking into adding two more channels and speakers (woooohooooo additions).   The prelude is played for a quiet congregation after the announcements = have been made, and yesterday they got the Prayer from the Gothic Suite (Boellman). The previous two weeks I played programmed postludes, but = after hearing the minister preach for the first time last week, I decided it was =   more fun to choose one of the hymns that he quoted in his sermon for a postlude.   I guess I'll give myself a good grade for hymn playing, having introduced = the hymns with short improvisations on the tune and then varying only the registrations on stanzas with an occasional interlude between stanzas = (they get to sing parts ALL THE TIME!!!). ;-)   The last hymn did get special treatment, however, and spontaneous as well. = "Softly and Tenderly Jesus is Calling" was the hymn. I played it on the quiet side and with a relaxed tempo. After the first stanza I played the refrain on 8 and 4 flutes, and let them sing "ye who are weary come home" = a capella, then re-entered for the final phrases. After the second = stanza, I let them sing the first half of the refrain a capella while I moved discreetly from the organ console to the piano (silently praying that the piano would be unlocked, since this was spur of the moment). Fortunately, =   the lid opened easily and I tossed the felt keycover to the floor in time = to re-enter the accompaniment for the final phrase of the refrain. Then a = short interlude moved the key from G to A-flat and I shifted to piano player = mode. It was lots of fun.   I stayed at the piano for the one stanza of Blessed Be the Tie after the dismissal, and then did an improvisation on "His Eye is On the Sparrow" = which was quoted several times in the sermon.   The first comment I got was from the treasurer, who rushed up after the service to make sure the organ was okay (she has just made out two checks = to the organ service guy -- for what I know not!!).   It's going to be a fun place to serve.   bruise     Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 ....an opportunity for health & wealth http://visionsuccess.com/BC2053   --part1_59.1fc32baf.2a89a8cd_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>&gt;How was the music = at everyone's church this morning? <BR>&gt;How did you play? <BR> <BR>I guess it's confession time.... &nbsp;I'm back on the bench, playing = in a Disciples of Christ church on a (gasp) 2m Allen. &nbsp; <BR> <BR>The service is informal, yet done with dignity and the hymns are good, = and the congregation generally on the west side of 50! = &nbsp;&nbsp;&nbsp;&nbsp; <BR> <BR>I've had to turn the volume up on the amps so that Principals 8 and 4 = sufficiently fill the room for congregational singing, since the room is = dead and the mixture does not fill the room but causing various noises = from hearing aids! &nbsp;&nbsp;Increasing the gain on the amps (2 = channels) gives sufficient volume to the 8 and 4 flues, but makes the = mixture and Trompete unusable (no surprise). &nbsp;&nbsp;We're looking = into adding two more channels and speakers (woooohooooo additions). <BR> <BR>The prelude is played for a quiet congregation after the announcements = have been made, and yesterday they got the Prayer from the Gothic Suite = (Boellman). &nbsp;&nbsp;The previous two weeks I played programmed = postludes, but after hearing the minister preach for the first time last = week, I decided it was more fun to choose one of the hymns that he quoted = in his sermon for a postlude. <BR> <BR>I guess I'll give myself a good grade for hymn playing, having = introduced the hymns with short improvisations on the tune and then = varying only the registrations on stanzas with an occasional interlude = between stanzas (they get to sing parts ALL THE TIME!!!). &nbsp;;-) = &nbsp;&nbsp;&nbsp; <BR> <BR>The last hymn did get special treatment, however, and spontaneous as = well. &nbsp;&nbsp;"Softly and Tenderly Jesus is Calling" was the hymn. = &nbsp;I played it on the quiet side and with a relaxed tempo. &nbsp;After = the first stanza I played the refrain on 8 and 4 flutes, and let them sing = "ye who are weary come home" a capella, then re-entered for the final = phrases. &nbsp;&nbsp;&nbsp;After the second stanza, I let them sing the = first half of the refrain a capella while I moved discreetly from the = organ console to the piano (silently praying that the piano would be = unlocked, since this was spur of the moment). &nbsp;Fortunately, the lid = opened easily and I tossed the felt keycover to the floor in time to = re-enter the accompaniment for the final phrase of the refrain. &nbsp;Then = a short interlude moved the key from G to A-flat and I shifted to piano = player mode. &nbsp;It was lots of fun. <BR> <BR>I stayed at the piano for the one stanza of Blessed Be the Tie after = the dismissal, and then did an improvisation on "His Eye is On the = Sparrow" which was quoted several times in the sermon. &nbsp; <BR> <BR>The first comment I got was from the treasurer, who rushed up after = the service to make sure the organ was okay (she has just made out two = checks to the organ service guy -- for what I know not!!). &nbsp;&nbsp; <BR> <BR>It's going to be a fun place to serve. <BR> <BR>bruise <BR> <BR> <BR>Bruce in the Muttastery at Howling Acres = http://members.tripod.com/Brucon502 <BR>...an opportunity for health &amp; wealth = &nbsp;http://visionsuccess.com/BC2053</FONT></HTML>   --part1_59.1fc32baf.2a89a8cd_boundary--  
(back) Subject: Re: Worshipful atmosphere From: "Jim Hailey" <jhaileya10@charter.net> Date: Mon, 12 Aug 2002 20:34:36 -0500     ----- Original Message ----- From: "Jonathan" <jhumbert@ptd.net> To: <pipechat@pipechat.org> Sent: Sunday, August 11, 2002 10:10 PM Subject: Worshipful atmosphere     > Just to follow up my post, what do people feel about clapping during > services? > Regards, > Jonathan Humbert > Organist > Word of Life Chapel > Bainbridge, PA > No, No and NO   Jim H > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org > >      
(back) Subject: Re: Last Sunday From: "Paul Valtos" <chercapa@enter.net> Date: Mon, 12 Aug 2002 21:17:17 -0400   This is a multi-part message in MIME format.   ------=3D_NextPart_000_000A_01C24245.A32CE400 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Hey Bruce, What brand of organ were you talking about. Paul ----- Original Message -----=3D20 From: Cremona502@cs.com=3D20 To: pipechat@pipechat.org=3D20 Sent: Monday, August 12, 2002 8:11 PM Subject: Re: Last Sunday     >How was the music at everyone's church this morning?=3D20 >How did you play?=3D20   I guess it's confession time.... I'm back on the bench, playing in a = =3D Disciples of Christ church on a (gasp) 2m Allen. =3D20   The service is informal, yet done with dignity and the hymns are good, = =3D and the congregation generally on the west side of 50! =3D20   I've had to turn the volume up on the amps so that Principals 8 and 4 = =3D sufficiently fill the room for congregational singing, since the room is = =3D dead and the mixture does not fill the room but causing various noises =3D from hearing aids! Increasing the gain on the amps (2 channels) gives = =3D sufficient volume to the 8 and 4 flues, but makes the mixture and =3D Trompete unusable (no surprise). We're looking into adding two more =3D channels and speakers (woooohooooo additions).=3D20   The prelude is played for a quiet congregation after the announcements = =3D have been made, and yesterday they got the Prayer from the Gothic Suite = =3D (Boellman). The previous two weeks I played programmed postludes, but = =3D after hearing the minister preach for the first time last week, I =3D decided it was more fun to choose one of the hymns that he quoted in his = =3D sermon for a postlude.=3D20   I guess I'll give myself a good grade for hymn playing, having =3D introduced the hymns with short improvisations on the tune and then =3D varying only the registrations on stanzas with an occasional interlude =3D between stanzas (they get to sing parts ALL THE TIME!!!). ;-) =3D20   The last hymn did get special treatment, however, and spontaneous as =3D well. "Softly and Tenderly Jesus is Calling" was the hymn. I played =3D it on the quiet side and with a relaxed tempo. After the first stanza I = =3D played the refrain on 8 and 4 flutes, and let them sing "ye who are =3D weary come home" a capella, then re-entered for the final phrases. =3D After the second stanza, I let them sing the first half of the refrain a = =3D capella while I moved discreetly from the organ console to the piano =3D (silently praying that the piano would be unlocked, since this was spur = =3D of the moment). Fortunately, the lid opened easily and I tossed the =3D felt keycover to the floor in time to re-enter the accompaniment for the = =3D final phrase of the refrain. Then a short interlude moved the key from = =3D G to A-flat and I shifted to piano player mode. It was lots of fun.=3D20   I stayed at the piano for the one stanza of Blessed Be the Tie after =3D the dismissal, and then did an improvisation on "His Eye is On the =3D Sparrow" which was quoted several times in the sermon. =3D20   The first comment I got was from the treasurer, who rushed up after =3D the service to make sure the organ was okay (she has just made out two =3D checks to the organ service guy -- for what I know not!!). =3D20   It's going to be a fun place to serve.=3D20   bruise=3D20     Bruce in the Muttastery at Howling Acres =3D http://members.tripod.com/Brucon502=3D20 ...an opportunity for health & wealth http://visionsuccess.com/BC2053 = =3D     ------=3D_NextPart_000_000A_01C24245.A32CE400 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 5.50.4611.1300" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>Hey Bruce,</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>&nbsp;&nbsp;&nbsp;&nbsp; What brand of =3D organ were=3D20 you talking about.</FONT></DIV> <DIV><FONT face=3D3DArial=3D20 size=3D3D2>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs= =3D p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D20 Paul</FONT></DIV> <BLOCKQUOTE=3D20 style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=3D3D"FONT: 10pt arial">----- Original Message ----- </DIV> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A title=3D3DCremona502@cs.com=3D20 href=3D3D"mailto:Cremona502@cs.com">Cremona502@cs.com</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>To:</B> <A =3D title=3D3Dpipechat@pipechat.org=3D20 href=3D3D"mailto:pipechat@pipechat.org">pipechat@pipechat.org</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Sent:</B> Monday, August 12, 2002 = =3D 8:11=3D20 PM</DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Subject:</B> Re: Last Sunday</DIV> <DIV><BR></DIV><FONT face=3D3Darial,helvetica><FONT size=3D3D2>&gt;How = was =3D the music=3D20 at everyone's church this morning? <BR>&gt;How did you play? <BR><BR>I = =3D guess=3D20 it's confession time.... &nbsp;I'm back on the bench, playing in a =3D Disciples=3D20 of Christ church on a (gasp) 2m Allen. &nbsp; <BR><BR>The service is =3D informal,=3D20 yet done with dignity and the hymns are good, and the congregation =3D generally=3D20 on the west side of 50! &nbsp;&nbsp;&nbsp;&nbsp; <BR><BR>I've had to =3D turn the=3D20 volume up on the amps so that Principals 8 and 4 sufficiently fill the = =3D room=3D20 for congregational singing, since the room is dead and the mixture =3D does not=3D20 fill the room but causing various noises from hearing aids!=3D20 &nbsp;&nbsp;Increasing the gain on the amps (2 channels) gives =3D sufficient=3D20 volume to the 8 and 4 flues, but makes the mixture and Trompete =3D unusable (no=3D20 surprise). &nbsp;&nbsp;We're looking into adding two more channels and = =3D   speakers (woooohooooo additions). <BR><BR>The prelude is played for a = =3D quiet=3D20 congregation after the announcements have been made, and yesterday =3D they got=3D20 the Prayer from the Gothic Suite (Boellman). &nbsp;&nbsp;The previous = =3D two=3D20 weeks I played programmed postludes, but after hearing the minister =3D preach for=3D20 the first time last week, I decided it was more fun to choose one of =3D the hymns=3D20 that he quoted in his sermon for a postlude. <BR><BR>I guess I'll give = =3D myself=3D20 a good grade for hymn playing, having introduced the hymns with = short=3D20 improvisations on the tune and then varying only the registrations on = =3D stanzas=3D20 with an occasional interlude between stanzas (they get to sing parts =3D ALL THE=3D20 TIME!!!). &nbsp;;-) &nbsp;&nbsp;&nbsp; <BR><BR>The last hymn did get =3D special=3D20 treatment, however, and spontaneous as well. &nbsp;&nbsp;"Softly and =3D Tenderly=3D20 Jesus is Calling" was the hymn. &nbsp;I played it on the quiet side =3D and with a=3D20 relaxed tempo. &nbsp;After the first stanza I played the refrain on 8 = =3D and 4=3D20 flutes, and let them sing "ye who are weary come home" a capella, then = =3D   re-entered for the final phrases. &nbsp;&nbsp;&nbsp;After the second =3D stanza, I=3D20 let them sing the first half of the refrain a capella while I moved =3D discreetly=3D20 from the organ console to the piano (silently praying that the piano =3D would be=3D20 unlocked, since this was spur of the moment). &nbsp;Fortunately, the =3D lid=3D20 opened easily and I tossed the felt keycover to the floor in time to =3D re-enter=3D20 the accompaniment for the final phrase of the refrain. &nbsp;Then a =3D short=3D20 interlude moved the key from G to A-flat and I shifted to piano player = =3D mode.=3D20 &nbsp;It was lots of fun. <BR><BR>I stayed at the piano for the one =3D stanza of=3D20 Blessed Be the Tie after the dismissal, and then did an improvisation =3D on "His=3D20 Eye is On the Sparrow" which was quoted several times in the sermon. =3D &nbsp;=3D20 <BR><BR>The first comment I got was from the treasurer, who rushed up = =3D after=3D20 the service to make sure the organ was okay (she has just made out two = =3D checks=3D20 to the organ service guy -- for what I know not!!). &nbsp;&nbsp; =3D <BR><BR>It's=3D20 going to be a fun place to serve. <BR><BR>bruise <BR><BR><BR>Bruce in = =3D the=3D20 Muttastery at Howling Acres http://members.tripod.com/Brucon502 =3D <BR>...an=3D20 opportunity for health &amp; wealth=3D20 &nbsp;http://visionsuccess.com/BC2053</FONT> =3D </FONT></BLOCKQUOTE></BODY></HTML>   ------=3D_NextPart_000_000A_01C24245.A32CE400--